version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.61"
+@c \version "2.12.0"
@node Ancient notation
@section Ancient notation
Many graphical objects, such as note heads and flags, accidentals,
time signatures, and rests, provide a @code{style} property, which
can be changed to emulate several different styles of ancient
-notation. See
+notation. See
@itemize
@item @ref{Mensural note heads},
-@item @ref{Mensural accidentals},
+@item @ref{Mensural accidentals and key signatures},
@item @ref{Mensural rests},
@item @ref{Mensural clefs},
@item @ref{Gregorian clefs},
@item @emph{Editio Vaticana} is a complete style for
Gregorian chant, following the appearance of the Solesmes
editions, the official chant books of the Vatican since 1904.
-Lilypond has support for all the notational signs used in this
+LilyPond has support for all the notational signs used in this
style, including ligatures, @emph{custodes}, and special signs
such as the quilisma and the oriscus.
entry without worrying about the details on how to customize a
context. See one of the pre-defined contexts
@code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
-and @code{MensuralStaff}. See
+and @code{MensuralStaff}. See further
@itemize
@item @ref{Gregorian chant contexts},
sequences of notes on the same syllable. They are also used in
mensural notation.
-Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
-Some ligature styles may need additional input syntax specific for
-this particular type of ligature. By default, the
+Ligatures are entered by @emph{enclosing} them in @code{\[} and
+@code{\]}. Some ligature styles may need additional input syntax
+specific for this particular type of ligature. By default, the
@rinternals{LigatureBracket} engraver just puts a square bracket
above the ligature.
as explained in @ref{White mensural ligatures} and @ref{Gregorian
square neume ligatures}.
-@seealso
+@seealso
@c TODO: nothing here yet ...
+
@knownissues
Ligatures need special spacing that has not yet been implemented. As
@c with the same effect and is believed to be stable.
@c TODO: this does not seem to work at the moment.
+@c -- eo
+
@c {{{2 Custodes
and change the style of the custos with an @code{\override} if
desired, as shown in the following example:
-@example
-\layout @{
- \context @{
- \Staff
- \consists Custos_engraver
- Custos \override #'style = #'mensural
- @}
-@}
-@end example
-
-The result looks like this
-
@lilypond[quote,ragged-right]
\score {
-{
- a'1
- \override Staff.Custos #'style = #'mensural
- \break
- g'
-}
-\layout {
- \context { \Staff \consists Custos_engraver }
+ \relative c'' {
+ a1
+ \break
+ g
+ }
+ \layout {
+ \context {
+ \Staff
+ \consists Custos_engraver
+ \override Custos #'style = #'mensural
+ }
}
}
@end lilypond
}
@end lilypond
-@seealso
+@seealso
Internals Reference: @rinternals{Custos}.
Examples:
-@rlsr{Ancient}.
+@rlsr{Ancient notation}.
+
@c {{{2 Figured bass support
@node Figured bass support
* Mensural note heads::
* Mensural flags::
* Mensural rests::
-* Mensural accidentals::
-* Annotational accidentals (@emph{musica ficta})::
+* Mensural accidentals and key signatures::
+* Annotational accidentals (musica ficta)::
* White mensural ligatures::
@end menu
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
@end lilypond
@end multitable
-@seealso
+@seealso
Notation Reference: see @ref{Clef}.
+
@knownissues
The mensural g clef is mapped to the Petrucci g clef.
}
@end lilypond
-@seealso
+@seealso
Notation Reference: @ref{Time signature}, gives a general introduction to
the use of time signatures.
+
@knownissues
Ratios of note durations do not change with the time signature. For
@end lilypond
-@seealso
+@seealso
@ref{Note head styles} gives an overview of all available note head styles.
@c music, the default flag style should be used.
There are no flags in Gregorian chant notation.
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
The attachment of ancient flags to stems is slightly off.
neo-mensural style. Instead, the rests from the default style will be
taken.
-See @rlsr{Pitches,rests} for a chart of all rests.
-
-There are no rests in Gregorian chant notation; instead, it uses
-@ref{Divisiones}.
+See @rlsr{Ancient notation} for a chart of all rests.
@seealso
-
Notation Reference: @ref{Rests}, gives a general introduction into the use of
rests.
-@c {{{2Mensural accidentals
-@node Mensural accidentals
-@unnumberedsubsubsec Mensural accidentals
+@c {{{2Mensural accidentals and key signatures
+@node Mensural accidentals and key signatures
+@unnumberedsubsubsec Mensural accidentals and key signatures
@cindex accidentals
+@cindex key signature
-Four different accidental styles for ancient music are available:
+The @code{mensural} style provides a sharp and a flat sign
+different from the default style. If called for, the natural sign
+will be taken from the @code{vaticana} style.
@lilypond[quote,ragged-right,staffsize=26]
\score {
{
\textLengthOn
s^\markup {
- \column {
- "vaticana"
- \line { " " \musicglyph #"accidentals.vaticana-1"
- " " \musicglyph #"accidentals.vaticana0" }
- }
- \column {
- "medicaea"
- \line { " " \musicglyph #"accidentals.medicaea-1" }
- }
- \column {
- "hufnagel"
- \line { " " \musicglyph #"accidentals.hufnagel-1" }
- }
\column {
"mensural"
\line { " " \musicglyph #"accidentals.mensural-1"
}
@end lilypond
-As shown, not all accidentals are supported by each style. When
-trying to access an unsupported accidental, LilyPond will switch to a
-different style, as demonstrated in
-@rlsr{Ancient}.
-
The style for accidentals and key signatures is controlled by the
@code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
@rinternals{KeySignature}, respectively; e.g.:
@code{\override Staff.Accidental #'glyph-name-alist =
#alteration-mensural-glyph-name-alist}
-@seealso
+@seealso
Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
@ref{Automatic accidentals} give a general introduction of the use of
accidentals. @ref{Key signature} gives a general introduction of
Internals Reference: @rinternals{KeySignature}.
+
@c {{{2 Annotational accidentals (musica ficta)
-@node Annotational accidentals (@emph{musica ficta})
+@node Annotational accidentals (musica ficta)
@unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
In European music from before about 1600, singers were expected to
}
@end lilypond
-@seealso
+@seealso
Internals Reference: @rinternals{Accidental_engraver} engraver and
the @rinternals{AccidentalSuggestion} object.
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
-Horizontal spacing is poor.
+Horizontal spacing of ligatures is poor.
@c {{{1 Typesetting Gregorian chant
@menu
* Gregorian chant contexts::
* Gregorian clefs::
+* Gregorian accidentals and key signatures::
* Divisiones::
* Gregorian articulation signs::
* Augmentum dots (@emph{morae})::
proper values, so you can immediately go ahead entering the chant, as
the following excerpt demonstrates:
-@lilypond[quote,ragged-right,packed,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\include "gregorian.ly"
\score {
<<
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
+
@c {{{2 Gregorian clefs
@node Gregorian clefs
@unnumberedsubsubsec Gregorian clefs
@end lilypond
@end multitable
-@seealso
+@seealso
Notation Reference: see @ref{Clef}.
+@c {{{2 Gregorian accidentals and key signatures
+@node Gregorian accidentals and key signatures
+@unnumberedsubsubsec Gregorian accidentals and key signatures
+
+@cindex accidentals
+@cindex key signature
+
+Accidentals for the three different Gregorian styles are available:
+
+@lilypond[quote,ragged-right,staffsize=26]
+\score {
+{
+ \textLengthOn
+ s^\markup {
+ \column {
+ "vaticana"
+ \line { " " \musicglyph #"accidentals.vaticana-1"
+ " " \musicglyph #"accidentals.vaticana0" }
+ }
+ \column {
+ "medicaea"
+ \line { " " \musicglyph #"accidentals.medicaea-1" }
+ }
+ \column {
+ "hufnagel"
+ \line { " " \musicglyph #"accidentals.hufnagel-1" }
+ }
+ }
+}
+\layout {
+ interscoreline = 1
+ \context { \Score \remove "Bar_number_engraver" }
+ \context { \Staff
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ \remove "Time_signature_engraver"
+ \remove "Staff_symbol_engraver"
+ \override VerticalAxisGroup #'minimum-Y-extent = ##f
+ }
+ }
+}
+@end lilypond
+
+As shown, not all accidentals are supported by each style. When
+trying to access an unsupported accidental, LilyPond will switch to a
+different style.
+
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {ancient-accidentals.ly}
+
+The style for accidentals and key signatures is controlled by the
+@code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
+@rinternals{KeySignature}, respectively; e.g.:
+
+@code{\override Staff.Accidental #'glyph-name-alist =
+#alteration-mensural-glyph-name-alist}
+
+
+@seealso
+Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
+@ref{Automatic accidentals} give a general introduction of the use of
+accidentals. @ref{Key signature} gives a general introduction of
+the use of key signatures.
+
+Internals Reference: @rinternals{KeySignature}.
+
+
@c {{{2Divisiones
@node Divisiones
@unnumberedsubsubsec Divisiones
@cindex divisiones
@cindex finalis
+There are no rests in Gregorian chant notation; instead, it uses
+@ref{Divisiones}.
+
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
@q{division}) is a staff context symbol that is used to indicate
the phrase and section structure of Gregorian music. The musical meaning of
only marks the end of a chant, but is also frequently used within a
single antiphonal/responsorial chant to mark the end of each section.
-To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
+To use divisiones, include the file @file{gregorian@/.ly}. It
contains definitions that you can apply by just inserting
@code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
and @code{\finalis} at proper places in the input. Some editions use
@emph{virgula} or @emph{caesura} instead of divisio minima.
-Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
+Therefore, @file{gregorian@/.ly} also defines @code{\virgula} and
@code{\caesura}
@lilypondfile[quote,ragged-right]{divisiones.ly}
-@predefined
+@predefined
@funindex \virgula
@code{\virgula},
@funindex \caesura
@code{\divisioMaxima},
@funindex \finalis
@code{\finalis}.
+@endpredefined
@c {{{2Gregorian articulations
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
Some articulations are vertically placed too closely to the
@seealso
-
Notation Reference: @ref{Breath marks}.
Internals Reference: @rinternals{BreathingSign}.
-Examples: @rlsr{Ancient}.
-
+Examples: @rlsr{Ancient notation}.
@c {{{2Gregorian square neumes ligatures
still lacking, such as (among others) horizontal alignment of multiple
ligatures, lyrics alignment, and proper handling of accidentals.
+The support for Gregorian neumes is enabled by @code{\include}ing
+"gregorian.ly" at the beginning of the file. This makes available
+a number of extra commands to produce the neume symbols used in
+plainchant notation.
+
+
+
Note heads can be @emph{modified} and/or @emph{joined}.
@itemize
@code{\cavum},
@funindex \linea
@code{\linea}.
-A note name without any qualifiers will produce a @emph{punctum}.
@item Ligatures, properly speaking (i.e. notes joined together), are
-produced by placing one of the joining commands @code{pes} or
-@code{flexa}, for upwards and downwards movement, respectively,
+produced by placing one of the joining commands @code{\pes} or
+@code{\flexa}, for upwards and downwards movement, respectively,
@emph{between} the notes to be joined.
@end itemize
-All neumes are in principle considered as ligatures, even the
-single-note neumes @emph{punctum} and @emph{virga}, and should
-therefore be placed between @code{\[...\]}.
+A note name without any qualifiers will produce a @emph{punctum}.
+All other neumes, including the single-note neumes with a
+different shape such as the @emph{virga}, are in principle
+considered as ligatures and should therefore be placed
+between @code{\[...\]}.
+@c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
+@c equivalent.
+@noindent
Single-note neumes:
@itemize
produces a hollow note, and @code{\linea}, which draws vertical
lines on either side of the note.
-@item The @emph{virga} has a descending stem on the right side. It is
+@item The @emph{virga} has a descending stem on the right side. It is
produced by the modifier @code{\virga}.
@end itemize
-@c On ligatures
-
-Unlike most other neumes notation systems, the input language for
-neumes does not reflect the typographical appearance, but is designed
-to focus on musical meaning. For example, @code{\[ a \pes b
-\flexa g \]} produces a Torculus consisting of three Punctum heads,
-while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
-curved flexa shape and only a single Punctum head. There is no
-command to explicitly typeset the curved flexa shape; the decision of
-when to typeset a curved flexa shape is based on the musical
-input. The idea of this approach is to separate the musical aspects
-of the input from the notation style of the output. This way, the
-same input can be reused to typeset the same music in a different
-style of Gregorian chant notation.
+@noindent
+Ligatures
+
+Unlike most other neumes notation systems, the typographical
+appearance of ligatures is not directly dictated by the input
+commands, but follows certain conventions dependent on musical
+meaning. For example, a three-note ligature with the musical shape
+low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
+Torculus consisting of three Punctum heads, while the shape
+high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
+Porrectus with a curved flexa shape and only a single Punctum
+head. There is no command to explicitly typeset the curved flexa
+shape; the decision of when to typeset a curved flexa shape is
+based on the musical input. The idea of this approach is to
+separate the musical aspects of the input from the notation style
+of the output. This way, the same input can be reused to typeset
+the same music in a different style of Gregorian chant notation.
-@c Liquescent neumes
+@noindent
+Liquescent neumes
Another main category of notes in Gregorian chant is the so-called
-liquescent neumes. They are used under certain circumstances at
+liquescent neumes. They are used under certain circumstances at
the end of a syllable which ends in a @q{liquescent} letter, i.e.
the sounding consonants that can hold a tone (the nasals, l, r, v,
j, and their diphtong equivalents). Thus, the liquescent neumes
Liquescent neumes are represented graphically in two different,
more or less interchangeable ways: with a smaller note or by
-@q{twisting} the main note upwards or downwards. The first is
+@q{twisting} the main note upwards or downwards. The first is
produced by making a regular @code{pes} or @code{flexa} and
modifying the shape of the second note: @code{\[ a \pes \deminutum
b \] }, the second by modifying the shape of a single-note neume
-with @code{\auctus} and one of the direction markers
-@code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctus
+with @code{\auctum} and one of the direction markers
+@code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctum
\descendens a \] }.
-@c Special signs
+@noindent
+Special signs
A third category of signs is made up of a small number of signs
with a special meaning (which, incidentally, in most cases is only
vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
-@emph{strophicus}. These are all produced by prefixing a note name
+@emph{strophicus}. These are all produced by prefixing a note name
with the corresponding modifier, @code{\quilisma},
@code{\oriscus}, or @code{\stropha}.
infinitely many different ligatures can be created.
Note that the use of these signs in the music itself follows
-certain rules, which are not checked by Lilypond. E.g., the
+certain rules, which are not checked by LilyPond. E.g., the
@emph{quilisma} is always the middle note of an ascending
ligature, and usually falls on a half-tone step, but it is
-perfectly possible to make a single-note quilisma.
+perfectly possible, although incorrect, to make a single-note
+quilisma.
+
+In addition to the note signs, gregorian.ly also defines the
+commands @code{\versus}, @code{\responsum}, @code{\ij},
+@code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
+corresponding characters, e.g. for use in lyrics, as section
+markers, etc. These commands use special unicode characters and
+will only work if a font is used which supports them.
@c neume table
The following table shows a limited, but still representative pool
-of Gregorian ligature examples, with the code fragments that
-produce the ligatures. The the extended neumes table of the 2nd
-volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
-1983 by the monks of Solesmes The second column
-gives the name of the ligature. The third column shows the code
-fragment that produces this ligature, using @code{g}, @code{a},
-and @code{b} as example pitches.
+of Gregorian ligatures, together with the code fragments that
+produce the ligatures. The table is based on the extended neumes
+table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
+Hymnarius}), published 1983 by the monks of Solesmes. The first
+column gives the name of the ligature, with the main form in
+boldface and the liquescent forms in italics. The third column
+shows the code fragment that produces this ligature, using
+@code{g}, @code{a}, and @code{b} as example pitches.
@b{Single-note neums}
@tab
@b{Output}
@tab
-@b{Lilypond@*
+@b{LilyPond@*
code}
@c TODO: \layout block is identical in all of the below examples.
@end multitable
-@predefined
-
-The following head prefixes are supported
+@predefined
+The following head prefixes are supported:
@funindex \virga
@code{\virga},
@funindex \stropha
@code{\cavum},
@funindex \linea
@code{\linea}.
+@endpredefined
Head prefixes can be accumulated, though restrictions apply. For
example, either @code{\descendens} or @code{\ascendens} can be applied
@funindex \augmentum
Use the unary music function @code{\augmentum} to add augmentum dots.
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
When an @code{\augmentum} dot appears at the end of the last staff
* Transcribing Gregorian chant::
* Ancient and modern from one source::
* Editorial markings::
-* Baroque rhythmic notation::
@end menu
Working with ancient music frequently involves particular tasks
which differ considerably from the modern notation for which
-Lilypond is designed. In the rest of this section, a number of
+LilyPond is designed. In the rest of this section, a number of
typical scenarios are outlined, with suggestions of solutions.
These involve:
@c use snippet Transcription-of-ancient-music-with-incipit
TBC
-@seealso
+@seealso
@c ... and reference to other sections ...
+
@c {{{2Mensurstriche layout
@node Mensurstriche layout
@unnumberedsubsubsec Mensurstriche layout
@emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
for bar lines that are drawn between the staves of a system but
-not through the staves themselves. It is a common way to preserve
+not through the staves themselves. It is a common way to preserve
the rhythmic appearance of the original, i.e. not having to break
syncopated notes at bar lines, while still providing the
orientation aids that bar lines give.
@lilypondfile[verbatim,lilyquote,texidoc]
{mensurstriche-layout-bar-lines-between-the-staves.ly}
-This simple setup will take care of the
-@c TODO Add text
+@c This simple setup will take care of the
+@c TODO Add text about lyrics to the lowest line, to be placed
+@c outside the StaffGroup.
@c from lsr and -user
-TBC
+@c TBC
-@seealso
+@seealso
@c ... and reference to other sections ...
@node Transcribing Gregorian chant
@unnumberedsubsubsec Transcribing Gregorian chant
-@c TODO Add text
-@c extract from 1.6.1.1
-TBC
-
-@seealso
-
-@c ... and reference to other sections ...
-
+Gregorian chant can be transcribed into modern notation with a
+number of simple tweaks.
-@c {{{2Ancient and modern from one source
-@node Ancient and modern from one source
-@unnumberedsubsubsec Ancient and modern from one source
-
-@c TODO Add text
-@c Here among others the snippets about reducing note length
-TBC
-
-@seealso
-
-@c ... and reference to other sections ...
-
-
-@c {{{2Editorial markings
-@node Editorial markings
-@unnumberedsubsubsec Editorial markings
+@b{Stems}. Stems can be left out altogether by @code{\remove}-ing
+the @code{Stem_engraver} from the Voice context:
-@c {{{2Baroque rhythmic notation
-@node Baroque rhythmic notation
-@unnumberedsubsubsec Baroque rhythmic notation
+@example
+\layout @{
+ ...
+ \context @{
+ \Voice
+ \remove "Stem_engraver"
+ @}
+@}
+@end example
-@c TODO Add text
-@c try Till Rettig
-@c Add example of white noteheads:
-@c In the french baroque some composers used white noteheads in slow pieces,
-@c mainly in 3/2-time. A quarter looks there like a eighth with a white
-@c notehead. (Franz-Rudolf Kuhnen)
+However, in some transcription styles, stems are used
+occasionally, for example to indicate the transition from a
+single-tone recitative to a fixed melodic gesture. In these cases,
+one can use either @code{\override Stem #'transparent = ##t} or
+@code{\override Stem #'length = #0} instead, and restore the stem
+when needed with the corresponding @code{\once \override Stem
+#'transparent = ##f} (see example below).
-@c TODO Add example of this:
-@c I was referring to e.g. notated a8. a16, which should, if I
-@c remember correctly, be interpreted more like a8.. a32 (in the french
-@c style). The editor might want to show that rythmic figure above the
-@c staff as an hint to performers. (Karl Hammer)
+@b{Timing.} For unmetered chant, there are several alternatives.
+The Time_signature_engraver can be removed from the Staff context
+without any negative side effects. The alternative, to make it
+transparent, will leave an empty space in the score, since the
+invisible signature will still take up space.
-TBC
+In many cases, @code{\set Score.timing = ##f} will give good
+results. Another alternative is to use \@code{\CadenzaOn} and
+@code{\CadenzaOff}.
-@seealso
+To remove the barlines, the radical approach is to @code{\remove}
+the Bar_engraver from the Staff context. Again, one may want to
+use @code{\override BarLine #'transparent = ##t} instead, if an
+occasional barline is wanted.
-@c ... and reference to other sections ...
+A common type of transcription is recitativic chant where the
+repeated notes are indicated with a single breve. The text to
+the recitation tone can be dealt with in two different ways:
+either set as a single, left-aligned syllable:
-@c {{{2Mensurstriche layout
-@node Mensurstriche layout
-@unnumberedsubsubsec Mensurstriche layout
+@lilypond[verbatim,ragged-right]
+\include "gregorian.ly"
+chant = \relative c' {
+ \clef "G_8"
+ c\breve c4 b4 a c2 c4 \divisioMaior
+ c\breve c4 c f, f \finalis
+}
-@emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
-for bar lines that are drawn between the staves of a system but
-not through the staves themselves. It is a common way to preserve
-the rhythmic appearance of the original, i.e. not having to break
-syncopated notes at bar lines, while still providing the
-orientation aids that bar lines give.
+verba = \lyricmode {
+ \once \override LyricText #'self-alignment-X = #-1
+ "Noctem quietam et" fi -- nem per -- fec -- tum
+ \once \override LyricText #'self-alignment-X = #-1
+ "concedat nobis Dominus" om -- ni -- po -- tens.
+}
+\score {
+ \new Staff <<
+ \new Voice = "melody" \chant
+ \new Lyrics = "one" \lyricsto melody \verba
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ \override Stem #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+This works fine, as long as the text doesn't span a line break. If
+that is the case, an alternative is to add hidden notes to the
+score, here in combination with changing stem visibility:
-@lilypondfile[verbatim,lilyquote,texidoc]
-{mensurstriche-layout-bar-lines-between-the-staves.ly}
-This simple setup will take care of the
-@c TODO Add text
-@c from lsr and -user
-TBC
+@lilypond[verbatim,ragged-right]
+\include "gregorian.ly"
+chant = \relative c' {
+ \clef "G_8"
+ \set Score.timing = ##f
+ c\breve \override NoteHead #'transparent = ##t c c c c c
+ \revert NoteHead #'transparent
+ \override Stem #'transparent = ##f \stemUp c4 b4 a
+ \override Stem #'transparent = ##t c2 c4 \divisioMaior
+ c\breve \override NoteHead #'transparent = ##t c c c c c c c
+ \revert NoteHead #'transparent c4 c f, f \finalis
+}
-@seealso
+verba = \lyricmode {
+ No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
+ con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
+}
-@c ... and reference to other sections ...
+\score {
+ \new Staff <<
+ \new Voice = "melody" \chant
+ \new Lyrics \lyricsto "melody" \verba
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ \override BarLine #'transparent = ##t
+ \override Stem #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+Another common situation is transcription of neumatic or
+melismatic chants, i.e. chants with a varying number of notes
+to each syllable. In this case, one would want to set the
+syllable groups clearly apart, usually also the subdivisions of a
+longer melisma. One way to achieve this is to use a fixed
+@code{\time}, e.g. 1/4, and let each syllable or note group fill
+one of these measures, with the help of tuplets or shorter
+durations. If the barlines and all other rhythmical indications
+are made transparent, and the space around the barlines is
+increased, this will give a fairly good representation in modern
+notation of the original.
+
+To avoid that syllables of different width (such as @qq{-ri} and
+@qq{-rum}) spread the syllable note groups unevenly apart, the
+@code{#'X-extent} property of the @code{LyricText} object may be
+set to a fixed value. Another, more cumbersome way would be to
+add the syllables as @code{\markup} elements. If further
+adjustments are necessary, this can be easily done with
+@code{s} @q{notes}.
+
+@lilypond[verbatim,quote]
+spiritus = \relative c' {
+ \time 1/4
+ \override Lyrics.LyricText #'X-extent = #'(0 . 3)
+ d4 \times 2/3 { f8 a g } g a a4 g f8 e
+ d4 f8 g g8 d f g a g f4 g8 a a4 s
+ \times 2/3 { g8 f d } e f g a g4
+}
-@c {{{2Transcribing Gregorian chant
-@node Transcribing Gregorian chant
-@unnumberedsubsubsec Transcribing Gregorian chant
+spirLyr = \lyricmode {
+ Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
+ or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
+ -- _ ia.
+}
+\score {
+ \new Staff <<
+ \new Voice = "chant" \spiritus
+ \new Lyrics = "one" \lyricsto "chant" \spirLyr
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ \override BarLine #'X-extent = #'(-1 . 1)
+ \override Stem #'transparent = ##t
+ \override Beam #'transparent = ##t
+ \override BarLine #'transparent = ##t
+ \override TupletNumber #'transparent = ##t
+ }
+ }
+}
+@end lilypond
-@c TODO Add text
@c extract from 1.6.1.1
-TBC
@seealso
-
@c ... and reference to other sections ...
-
@c {{{2Ancient and modern from one source
@node Ancient and modern from one source
@unnumberedsubsubsec Ancient and modern from one source
TBC
@seealso
-
@c ... and reference to other sections ...
-
@c {{{2Editorial markings
@node Editorial markings
@unnumberedsubsubsec Editorial markings
@c {{{2Baroque rhythmic notation
-@node Baroque rhythmic notation
-@unnumberedsubsubsec Baroque rhythmic notation
+@c @node Baroque rhythmic notation
+@c @unnumberedsubsubsec Baroque rhythmic notation
@c TODO Add text
@c try Till Rettig
TBC
-@seealso
+@seealso
@c ... and reference to other sections ...